Chilean Puppets from ’31 Minutos’ Share the Joy of ‘Calurosa Navidad’ with the World
“31 Minutos” Celebrates 22 Years of Irreverent Puppet News
The beloved Chilean television show “31 Minutos” continues to capture audiences’ hearts with its unique blend of humor and creativity, marking 22 years since its debut in March 2003. The show features self-centered news anchor Tulio Triviño, a monkey in a suit, and his gambling-addicted reporter friend, Juan Carlos Bodoque, a red rabbit in a striped shirt. As hand puppets, they remain ageless, delighting viewers young and old.
Originally conceived as a children’s program, “31 Minutos” parodies traditional newscasts through the fictional town of Titirilquén, inhabited by an array of quirky puppets. The show has grown in popularity across Latin America, releasing four seasons filled with absurd misadventures and humor-infused songs.
Co-creator Pedro Peirano highlighted in a recent Zoom interview from Santiago, Chile, that “The Muppets and ‘Sesame Street’ have been great inspirations for us,” adding that they infused the show with “a more Latin American idiosyncrasy,” making it familiar yet distinct. Peirano voices and puppeteers Tulio, while fellow co-creator Álvaro Díaz gives life to Bodoque, who found his form from an initial concept as a green toad.
These character choices reflect a conscious decision to avoid traditional role models, as Peirano noted, stating, “They have their flaws and their virtues; in fact, they have more flaws, especially Tulio, who is a villain, but he’s also the face of the show.” This narrative complexity has contributed to the series’ wide appeal, allowing the characters’ imperfections to resonate with viewers.
As the show gained traction, Peirano and Díaz expanded its reach through their production company, Aplaplac, crafting live shows, a feature film, and even a museum exhibit. This fall, they are set to debut the festive special “Calurosa Navidad” (One Hot Christmas) on Prime Video, following a successful performance at NPR’s “Tiny Desk” last month.
Díaz emphasized their deviation from conventional children’s programming, stating, “In Latin America, we tend to confuse children’s television with educational television… We wanted to quickly transform it from that into more of a family show.”
The duo met while studying journalism at the Universidad de Chile during a pivotal period in the country’s history, which fostered their shared humor and artistic interests. Combined with their prior media experience, they aimed to parody the news landscape they were all too familiar with.
During their development of “31 Minutos,” puppetry emerged as a fitting choice, as neither wanted to appear on camera. “By putting puppets in front of the camera… children would immediately identify with them,” Díaz recalled, highlighting how this decision set the stage for storytelling that piqued their own interests.
Díaz’s initial suggestion to utilize puppets was inspired by Peirano’s lifelong admiration for Jim Henson, leading them to craft characters using materials Peirano had created as a child. As self-taught puppeteers, they learned the intricacies of their craft while producing the show in a cost-effective manner.
Music played a vital role in the program, with Peirano collaborating with his friend Pablo Ilabaca to develop a sound that embodied the essence of “31 Minutos.” Díaz noted, “There was a lo-fi quality about it… and we could add lyrics to that music,” giving rise to songs that celebrate childhood experiences without didactic undertones.
A commitment to quality content for children drives Díaz, who is a father of three. He expressed concern about the overall low standards of children’s entertainment in Latin America, asserting, “As kind of a governing principle for ’31 Minutos,’ we want these options to improve.”
As “31 Minutos” became a cultural staple in Chile, both creators recognized its impact across generations. Peirano recalled a moment when he overheard an adult whistling the show’s theme song, while Díaz noted the popularity of the album featuring the show’s music shortly after its release.
Mexico emerged as a vital market for the show, evidenced by an influx of viewer correspondence. A tribute album featuring reinterpretations of “31 Minutos” songs was released in 2009, and a museum exhibit recently toured Mexican cities, further solidifying its broader appeal.
As the creators reflect on the changing landscape of children’s programming, Díaz lamented the industry’s tendency to prioritize coherent narratives. He stated, “It’s impossible to make something like ‘31 Minutos’ today,” especially in the context of the U.S. entertainment industry, which often demands a rigid understanding of fun before production.
Their experience at the “Tiny Desk” concert brought the joy of spontaneity back to the forefront, as they recreated their set in Santiago for the performance. The humorous commentary on immigration added a layer of relevance to their appearance.
“Calurosa Navidad” will continue the show’s legacy of charm, presenting the familiar plot of Bodoque searching for Santa amidst the heat of Titirilquén. The creators remain committed to their roots and the quality of their productions, with Peirano currently in Los Angeles for separate writing projects while Díaz remains firmly grounded in Chile.
As they endeavor to maintain artistic excellence, Díaz emphasized, “What we advocate for in ‘31 Minutos’ is artistic excellence from Chile. From Chile to Latin America first, and hopefully from Chile to the world.”
